Collective, City Observatory, 38 Calton Hill, Edinburgh EH7 5AA

Emmie McLuskey: these were the things that made the step familiar

The eight large scale screen print collages, audio works, printed matter and gymnastic ‘furniture' that make up Glasgow-based artist Emmie McLuskey's installation at Collective look at the shared poetics of the filmmaker and choreographer by analysing, describing and recording the body, through its interactions and its gestures, between rest and motion. Review by Alex Hetherington

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Tintype, 107 Essex Road, London N1 2SL

Alice Browne in conversation with Jillian Knipe

Alice Browne speaks to Jillian Knipe about the inspirations and processes of her work in 'Found', her solo exhibition currently on show at Tinype Gallery.

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Joshua Liner Gallery, 540 West 28th Street, New York, NY 10001

The Final Taboo: A conversation between Benjamin Murphy and Andy Dixon

Benjamin Murphy speaks to painter Andy Dixon ahead of his upcoming solo exhibition 'Look at This Stuff Isn’t It Neat' at Joshua Liner Gallery, New York.

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25 Albert Drive, Glasgow G41 2PE

Cécile B. Evans: AMOS’ WORLD

‘AMOS’ WORLD’ is a highly staged, three-part, telepathic and narcissistic TV soap opera, strewn with the vernacular of a therapy session and the persuasive mantras of the executive suite, the property developer and the city planner. Review by Alex Hetherington

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The Photographers' Gallery, 16-18 Ramillies St, Soho, London W1F 7LW

All I Know Is What’s On The Internet

To this exhibition’s immense credit, it avoids engaging in knee-jerk satire of the American President. Instead, his words serve as a jumping-off point to consider the blurrier than ever line between fact and fiction, and the changing nature of ‘the image’. Review by Adam Heardman

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Cooper Gallery, 13 Perth Rd, Dundee DD1 4HT

Phil Collins: Ceremony

Visual artist and filmmaker Phil Collins’ journalistic video essay ‘Ceremony’ (2018) is structured as a complex melding of transnational road movie, rumination on the (in)visibility of public monuments, archival political portrait and ideological time/image/ machine. Review by Alex Hetherington

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Koenig Gallery, 121, Alexandrinenstraße 118, 10969 Berlin

Helen Marten: Fixed Sky Situation

For her most recent exhibition titled ‘Fixed Sky Situation’ at Koenig Galerie, Turner and Hepworth Prize winner Helen Marten presents eight new works, including three complex installations and five large paintings that circle the space like secular polyptychs. Review by Anais Castro

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MO Museum, Pylimo g. 17, Vilnius 01141, Lithuania

All Art Is About Us

The inaugural exhibition, ‘All Art is About Us’, is made up predominantly of painting, video installation and photography from the museum’s collection of Lithuanian art. Review by Gulnaz Can

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The National Gallery, Trafalgar Square, London WC2N 5DN

Rachel Maclean: The Lion and The Unicorn

Maclean’s video work was created in the frenzied build up to the Scottish referendum, and sees the lion and unicorn from the Royal Coat of Arms personified by the artist in outrageously lurid get-up, lampooning the ridiculous regalia of power. Review by Clare Robson

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The Fabric Workshop and Museum, 1214 Arch Street, Philadelphia, PA 19107

Suzanne Bocanegra: Poorly Watched Girls

Laura Mulvey is best known for her essay describing the phenomenon of the 'male gaze,' where the act of looking in visual media is coded as male, or specifically for heterosexual male viewers, leaving women as passive objects that are meant to be looked at and desired. While not directly referencing Mulvey, Suzanne Bocanegra investigates this concept of women as the target of the gaze in 'Poorly Watched Girls,' using multiple media to question whether the performance of watching women can ever truly be enough to understand them as subjects in their own right. Review by Deborah Krieger

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The Approach, 1st Floor, 47 Approach Road, Bethnal Green, London E2 9LY

Shapeshifters

In the delicate space of The Approach Gallery, group show ‘Shapeshifters’ initially seems a suitably lightweight fit with pastel images and objects tiptoeing across the room. In direct opposition, heaviness slowly wades in through the details, as pinks shift from candy fluorescent to wet plasticky sludge and blood clot red. Review by Jillian Knipe

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John Hansard Gallery, 142-144 Above Bar Street, Southampton, SO14 7DU

Siobhán Hapaska: Snake and Apple

The ground level of John Hansard Gallery plays host to the recent productions of Irish artist Siobhán Hapaska. Four large sculptures zigzag the length of the room, while the world outside becomes part of the exhibition, like a film projected through the gallery’s giant windows. The artist’s work prompts a wake-up slap as it translates Greek tragedy-scale despair into our current day goings on. Review by Jillian Knipe

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